Jane Gray (b.1931)

Framfield Church, Uckfield, Sussex, Design for Stained Glass Window (1961)

Signed and dated on backing board and verso.

The village of Framfield is mentioned in the Domesday Book, suggesting that there may have been a church on this site in the 11th century; however, the building of the existing church began in the early 13th century when  Hempstead chapel was erected, a prelude to the much larger church that followed, consisting of a nave, north and south aisles, western tower, chancel, and chapels. Between 1200 and 1250, this new church emerged into the structure that survives unto the present day. A rare example of Gray’s early work, this design shows a more traditional approach to stained glass window design and centres on the figure of Jesus playing with children. In much of her later work, Gray eschewed this traditional, medieval style in favour of a more modern style.

Jane Gray (b.1931)

Church of the Holy Nativity, Bristol, Design for Stained Glass Memorial Window, Commemorating Frank Ernest Pring (1997)

The Church of the Holy Nativity in Bristol started out as a Mission Chapel in the latter half of the 19th century, when the population of hamlets surrounding Bristol expanded into suburbs—the result of industrial growth around Temple Meads railway station. The site chosen was close to Arnos Vale Cemetery in Knowle, where a wooden church was built to serve the local residents, opening in 1865. From the start the Mission Chapel was well attended and grew significantly in size until it became necessary to find a larger, more permanent building to accommodate the congregation. In 1867 the Chapel was moved to a new site in Wells Road, Knowle, and an appeal for building funds started. To save money the new church was developed in sections, and the Mayor of Bristol laid the foundation stone of the new church in June 1870, it was dedicated on Holy Cross Day, in September, 1871.  Tragically, during the first heavy air raid on Bristol on 24th November 1940, Holy Nativity became the first church in the city to be destroyed, however, by some stroke of luck, the Tower, Clock and Bells survived the destruction and it was said that as flames consumed the church the clock continued to chime. Approval  to rebuild the church was given in December 1950 and the new church was completed in November 1955. The church was consecrated on the Feast of the Conversion of St Paul, in January 1958. This window was dedicated to the memory of the late churchwarden emeritus, Ernest Pring. In this window, Gray incorporated many significant features of Ernest’s life such as his churchwarden’s staff, the Boy Scouts, his favourite biblical text and the Bristol landscape. A cross dominates the design and a star beams light across the whole design from above. Adjacent to the window is a memorial to Phyllis Pring, Ernest’s wife, also designed by Gray. This window was installed in 1998.

Jane Gray (b.1931)

Holy Trinity Church, Weston Lullingfields, Shropshire, Design for Stained Glass Window (1990)

Signed, dated and studio stamp verso.

Holy Trinity Church in Weston Lullingfields was built in 1857 by the late Miss Barrett, of Prescott to join the expanding development of Weston Wharf. However, with the advent of the Railway in nearby Baschurch, the canal fell into disuse and plans for major expansion of the village declined. The church is built in the Early English style and houses a rare Hilditch organ.

Jane Gray (b.1931)

St Mary’s Church, Bushbury, Wolverhampton, Design for Stained Glass Window (1989)

Signed, dated and studio stamp verso.

St Mary’s Church was built in the mid 14th century but underwent substantial renovations in the 19th century to the designs of Wolverhampton architect, Edward Banks with advice from the notable, Sir Gilbert Scott. St Mary’s is thought to have inspired the church at ‘M’ visited by Borrow and the Petulengroes in Chapter VIII of George Borrow’s 1857 novel, The Romany Rye. One of Gray’s most interesting and beautiful designs, this stained glass window demonstrates the artist’s distinctly modern approach, capturing something of her artistic predecessor, Hilma af Klint’s characteristic geometric style and colour palette.

Jane Gray (b.1931)

Arms of the Worshipful Company of Launderers, Design for Stained Glass Window (1985)

Dated and detailed in artist's hand with studio label verso.

This window was commissioned by the Worshipful Company of Launderers to oversee their banqueting hall (which belongs to the Worshipful Company of Glaziers, of which Gray was the first female member). Besides the traditional symbols of aprons, irons, and mangles, Gray’s design also humorously includes a white cat licking itself clean. Alongside this window, Gray also designed a roundel containing the Company’s Arms.

Jane Gray (b.1931)

St Paul’s Church, Warwick, Design for One of Two Stained Glass Windows (1991)

Studio stamp and notes in artist's hand verso.

Rapid population expansion in Warwick in the early 1800s, due to the opening of the canal and industrialisation, saw the churchyards of St Mary and St Nicholas unable to cope. In 1823 both churches petitioned the Bishop of Worcester for extra burial space, but it wasn’t until 1918 that the Coventry diocese was finally created. A cemetery and chapel, known as St Mary’s Episcopal Chapel were built in 1824 on the site where St Paul’s sits today but was used exclusively for burials. In 1844 the Parish of St Paul's was formed and the church was consecrated on 26th July 1844 by the Bishop of Worcester. This window was installed in 1992.

Jane Gray (b.1931)

The Worshipful Society of Apothecaries, Design for Stained Glass Millennium Window (1999)

Signed.

The Worshipful Society of Apothecaries was founded in 1617, after breaking away from the Grocers’ Company (founded 1345). The Society were granted a royal charter by James I, and, throughout the remainder of the 17th century, challenged the College of Physicians monopoly on practicing medicine. In 1704, the House of Lords overturned a ruling of the Queen’s Bench that gave apothecaries the right to practice medicine. Apothecaries, therefore, may be viewed as the forerunners of present-day general (medical) practitioners or family physicians. Gray’s design for this 2000 memorial window, in the Apothecaries Hall in Blackfriars, London, features the names and illustrations of several medicinal plants, including Belladonna, Opium, Digitalis, Oenothara, Primrose, Cowslip, Nasturtium, Camomile, and Marigold.